You know when you’re cooking a packet of Maggi noodles in a saucepan, and you haven’t used enough water or don’t move the stuff soon enough from the pan to a plate once it’s done cooking, and you’re basically left with a hot lump of maida stuck to the bottom? That’s 2020. When you cook Maggi right, right up to mixing in a stick of butter at the end, you get a flavourful, well-lubricated, springy mass of strings that’s a pleasure to eat at the end of a long day. Once in a while you stick a fork into the plate and pull up a particularly long noodle, and you relish sucking it into your mouth from start to finish, with the masala dripping off at the end. That was probably many other years – when you had a strong sense of time moving from one event to the next, a sense of progression that helps you recall chronologies even long after you’ve forgotten what happened in March and what in September. For example, 2015 in my mind is cleanly divided into two parts – before May 11 and after May 11 – and memories of little personal accomplishments from that time are backgrounded by whether The Wire existed at the time. If it did, then I know the accomplishment happened after May 11. The Wire‘s birth effectively became an inflection in time that cut a little notch in the great noodle of 2015, a reference mark that created a before and an after. 2020 had none of this. It forsook all arrows of time; it wasn’t linear in any sense, not even non-linear in the sense of being exponential or logarithmic. It was practically anti-linear. Causality became a joke as the pandemic and its attendant restrictions on society fucked with the mind’s ability to tell one day apart from the next. So many of us beheld the world from our windows or balconies, although it wasn’t as if the world itself moved on without us. We weren’t there to world the world. Or maybe we were, but our collective grief at being imprisoned, literally and otherwise, seemed to be able to reshape our neighbourhoods, our surroundings, our shared cosmologies even and infused the fabrics of our every day with a cynical dye that we know won’t come off easily. Many of our lived experiences carried an awful symmetry like the circular one of a bangle, or a CD. How do you orient it? How do you say which way is up, or left, just by looking at it? You can’t. In the parlance of Euclidean geometry, 2020 was just as non-orientable. There was no before and after. Even our universe isn’t as bad: despite the maddening nature of the flatness problem, and the even more maddening fact of Earth’s asymptotically infinite loneliness, the universe is nearly flat. You’d have to travel trillions upon trillions of light-years in any direction before you have any chance of venturing into your past, and even then only because our instruments and our sciences aren’t accurate enough to assert, with complete certainty, that the universe is entirely flat and that your past will always lie in the causal history of your future. 2020 was, however, a singularity – an entrapment of reality within a glass bubble in which time flowed in an orbit around the centre, in perpetual free-fall and at the same time managing to get nowhere really. You can forget teasing out individual noodles from the hot lump on your plate because it’s really a black hole, probably something worse for shunning any of the mysteries that surround the microscopic structure of black holes in favour of maida, that great agent of constipation. As you stare at it, you could wait for its effects to evaporate; you could throw more crap into it in the hopes of destabilising it, like pushing yourself to the brink of nihilism that Thucydides noticed among the epidemic-stricken people of Athens more than two millennia ago; or you could figure out ingenious ways à la Penrose to get something good out of it. If you figure this out, please let the rest of us know. And until then, good luck with your Maggi.
Month: December 2020
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Ending 2020
My blogging took a hit this year – as did everything for everyone. I couldn’t publish nearly as much as I’d have liked. While the average post length was the highest it’s ever been – 989 words – and audience engagement was through the roof, I had to just forget many ideas for posts I’d had because I lacked the time and more importantly any creative energy to produce them. Since around May, I felt like writing only on the weekends, and only if an idea or an insight crossed a threshold of interestingness that for some reason kept climbing higher.
Year Posts Words 2012 119 81,710 2013 96 71,096 2014 163 117,302 2015 209 181,233 2016 64 55,206 2017 135 114,737 2018 184 145,530 2019 169 136,241 2020 113 111,752 That said, I have two takeaways from blogging this year. The first is a minor one – that I’ve published 1,200 posts in all now. I don’t think of this number except at the end of every year; its bigness feels reassuring, and reminds me when I’m down that I haven’t entirely wasted my time.
The other takeaway is that it’s certainly becoming harder to get through to The Other Side, as their louder commentators clamber further down their rabbit hole, and further persist with argumentative tactics guided not by reason or even the pursuit of common ground but by the need to uphold Hindutva at all times. And as they’ve dug their heels in, I’ve found I’ve been doing the same thing, although not deliberately. I’ve used the first person to refer to positions and the provenance of argumentative tacks more in 2020 than in any other year, and I’ve also been less and less inclined to spell my position – as if I’ve become sub-consciously aware that I’m no longer speaking out to change minds as much as to harden the stances of those who have already expressed solidarity.
I’m not entirely happy with this shift, this closing of the gates – even if it sounds more productive, as the engagement data also attests – because I don’t know whether when all this tides over, and it will tide over, I will be capable of reopening the gates as swiftly as I might need to. Granted, keeping the gates open even a little bit now – i.e. attempting to reason every now and then with those who aren’t amenable to reason – could prove injurious, but I remain convinced for now that it’s the smaller price to pay. And this is why I think the continuously rising threshold of interestingness is a coping mechanism of sorts, an internally supplied resistance to the hardening of the exterior.
I’m excited to find out where blogging, writing, reporting, editing, publishing in 2021 will take me – will take us all, in fact.
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“Enough science.”
Edit, 6.04 pm, December 15, 2020: A reader pointed out to me that The Guardian may in fact have been joking, and it has been known to be flippant on occasion. If this is really the case, I pronounce myself half-embarrassed for having been unable to spot a joke. But only half because it seems like a terrible joke, considering how proximate the real and the surreal having increasingly been, and because I still suspect it isn’t a joke. The astrologer in question is real, so to speak, and I doubt The Guardian wishes to ridicule her so.
From ‘How to watch the Jupiter and Saturn ‘great conjunction’ of 2020′, The Guardian, December 15, 2020:
I don’t know why The Guardian would print something like this. Beyond the shock of finding astrology – especially non-self-deprecating astrology – in the science section, it is outright bizarre for a question in an FAQ in this section to begin with the words ‘Enough science’.
To my mind The Guardian seems guilty of indulging the false balance that science and astrology are equally relevant and useful the same way the New York Times deemed that Democrats and Republicans in the US made equal amounts of sense in 2020 – by failing to find the courage to recognise that one side just wants to be stupid and/or reckless.
But while the New York Times did it for some principle it later discovered might have been wrong, what might The Guardian‘s excuse be? Revenue? I mean, not only has the astrologer taken the great opportunity she has to claim that there are bound to be astrological implications for everything, the astrology being quoted has also been accommodated under a question that suggests science and astrology are on equally legitimate footing.
This view harms science in the well-known way by empowering astrologists and in turn disempowering the tenets of reason and falsifiability – and in a less-known way by casting science in opposition to astrology instead of broaching the idea that science in fact complements the arts and the humanities. Put differently, the question also consigns science to being an oppositional, confrontational, negatory entity instead of allowing it a more amicable identity, as a human enterprise capable of coexisting with many other human enterprises.
For example, why couldn’t the question have been: “With the science, what opportunities might I have as a photographer?”, “With the science, what opportunities might I have as a poet seeking inspiration?” or even “Enough science. Break out the history.” In fact, if with its dogmatism astrology discourages deliberative decision-making and with its determinism suppresses any motivation one might have to remake one’s fate, it stands truly apart from the other things humans do that might serve to uplift them, and make them a better people. It is hard to imagine there is a reason here to celebrate astrology – except capital.
If revenue was really the reason The Guardian printed the astrology question, I admit none of these alternatives would make sense because there is no money in the arts and the humanities. I hope the newspaper will explain as to why this happened, and in the meantime, I think we could consider this a teaching moment on the fleeting yet consequential ways in which capital can shape the public understanding of science.
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The thing about π
Consider the following setup, from the game ‘Factorio’, the game about factory management and automation:
There are two factories visible in this image – the two rectangular, green-walled buildings. Take the one on the left: it’s manufacturing electric furnaces, with steel plates, stone bricks and advanced circuits as ingredients. These three resources are visible on conveyor belts leading up to the factory (top, left, bottom resp.), terminated by blue and green inserters that move the objects from the belts to the factory floor.
In order to maintain a steady supply of electric furnaces, I need to keep the ‘resource pressure’ up. Think of it like a strong wind blowing against your window: even if you opened the window just a little, there’s enough air pressing on that side of the wall for a lot of it to flow into your room. Similarly, I need to make sure sufficient quantities of steel, stone bricks and advanced circuits are available whenever the factory needs it. And within Factorio, as in the real world I imagine, maintaining this resource pressure isn’t easy.
Even if we assume that all the raw materials for these ingredients are available in infinite quantities, the time taken to transport each resource, manufacture the required parts and then move them to the factory takes a different amount of time. And in the factory itself, each electric furnace consumes different quantities of each ingredient: 10 steel plates, 10 stone bricks and five advanced circuits). As a result, for example, if I maintain all three resources with equal pressure on the factory, I will still run out of steel plates and stone bricks faster than I will run out of advanced circuits.
In fact, I will run out of steel plates first because its crafting time is 32 seconds, versus 3.2 seconds for one stone brick. So the proper pressure to maintain here is P for advanced circuits, 2P for stone bricks and 20P for steel plates. (I’m ignoring the crafting time for advanced circuits to keep the example simple.) If I don’t keep up these proportions, I won’t have a steady supply of electric furnaces. Instead, I’ll run out of steel plates first, and by the time more plates are available, stone bricks will have run out, and by the time stone bricks are available, advanced circuits will have run out. And so on and on in a continuous cycle.
The concept of orbital resonance is somewhat similar. Did you know that for everyone two orbits Pluto completes around the Sun, Neptune completes three? This is the 2:3 resonance. And it’s comparable to the Factorio example in that the ratio between the two periodic activities – Neptune’s and Pluto’s revolution and the rate of repetitive consumption of stone bricks and advanced circuits – is a rational number. ‘Rational’ here means the number can be expressed as the ratio of two integers.
Animation of planets in a 2:1 resonance. Credit: Amitchell125/Wikimedia Commons, CC BY-SA 4.0 With Pluto and Neptune, it’s 2/3 of course, but in a more intuitive sense, the implication is that if you wait for long enough, you will be able to count off the number of times the orbital resonance plays out – i.e. the number of times both planets are back to their starting positions at the same time, which would be once every two Plutonian revolutions or once every three Neptunian revolutions.
Similarly, the resource-pressure resonance plays out once every 10 stone bricks or once every five advanced circuits are consumed.
This meta-periodicity, a term I’m using here to refer to the combined periodicity of two separately periodic motions, allows us a unique opportunity to understand how bizarre the number known as π (pi) is. π is an irrational number: there’s no way to express it as the ratio of two integers. (The following portion also applies to e and other irrational numbers.)
In ‘Factorio’, all resources are integral, which means there can only be 1, 2, 3, … stone bricks, and never 1.5, 2.25, 3.75, etc.; the same constraint applies to advanced circuits as well. So there is no way for me – no matter how I align my resource extraction and processing chains – to ensure that for every advanced circuit, an integer-times-π number of stone bricks are consumed as well. I can alter the length of the supply lines, increase or decrease the ‘normal’ processing time, even use faster/slower conveyor belts and inserters for different ingredients, but I will never succeed. So long as the quantities in play remain integers, there’s no way for me to achieve a resonance such that the ratio of its terms is π.
This is what makes π so beautiful and maddening at once. It exists on terms that no two integers can recreate by themselves.
There’s another way to look at it. Say two planets begin orbiting their common host star from the 12 o’clock position in their respective orbits. If they are in a π:1 resonance, they will never be exactly at the 12 o’clock at the same time ever again. It doesn’t matter if you wait a century, an epoch or forever.
This example offers to my mind an uncommon opportunity to understand the difference between attributes of π and ∞. There’s the oft-quoted and frankly too prosaic statement that π’s decimal places extend infinitely. I prefer the more poetic: that efforts using simple mathematical combinations of integers will never create π. Even if a combination operates recursively, and each cycle produces a closer approximation of π, it can run for ∞ time and still not get here.
Like there’s an immutable barrier between two forms of unattainability.